DOCSLIB.ORG

ADAM and EVE in This Exquisite Artwork, Dalí Illustrates the Dramatic Moment in the Garden of Eden. Adam and Eve, Two Classical

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ADAM and EVE in This Exquisite Artwork, Dalí Illustrates the Dramatic Moment in the Garden of Eden. Adam and Eve, Two Classical ADAM AND EVE In this exquisite artwork, Dalí illustrates the dramatic moment in the Garden of Eden. Adam and Eve, two classical figures in Greek and Roman style, were the first man and woman, forming part of the Bible story. Adam raises his hand in indecision, as Eve entices him to eat the apple from the Tree of the Knowledge of Good and Evil. The image of the snake is coiled into the shape of a heart, a playful surrealist touch, juxtaposing the evil element represented by the snake and the heart shape that he creates, representing human love. Dalí studied theology and had an uncertain relationship with Catholicism throughout his life. Dalí’s mother was a stout catholic, his father an atheist. After much exploration, Dalí never fully succeeded in abandoning his childhood faith. Date: conceived in 1968, first cast in 1984 Material: bronze Technique: lost wax process Edition: 276/350 Height : 52 cm Edition : patina green/black Maquette: original gouache, Adam and Eve, 1968 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina EDITION 276 -350 ALICE IN WONDERLAND In 1968 Dalí was commissioned to illustrate an edition of the Alice in Wonderland book. Dalí chose to represent Alice as a girl with a skipping rope, an image which first appeared in his oeuvre in the 1930’s and was used in numerous oil paintings such as Morphological Echo (c.1935). Like Alice in Wonderland, Dalí travelled a long and arduous road through the land of dreams by means of his artistic expression. He was drawn to both the incredible story line and the extravagant characters in Lewis Carroll’s 1865 tale. Alice was one of Dalí’s favorite characters. In the story, Alice falls asleep and dreams of falling down a rabbit hole into a fantasy world of magic ‘drink-me’ potions, eccentric creatures and absurd realities. For Dalí, she is the eternal girl-child who responds to the confusion of this nonsense world with the naivety and innocence of childhood. Here, Dalí portrays Alice’s innocence and naivety. Dalí created Alice’s silhouette holding a skipping rope frozen in motion above her head, her hands and hair blossoming into roses, symbolizing feminine beauty and eternal youth. The crutch symbolizes stability, it gives her emotional support, acting as a link back to reality. Date: conceived in 1977, first cast 1984 Material: bronze Technique: lost wax process Edition size: Height : 90,5 cm Edition : patina blue Maquette: original gouache , Alice in Wonderland, 1977 Direct intervention (created by Dalí): the idea, image, and original maquette. Indirect intervention (created by artisans): lost wax process and patina. EDITION 115/350 BIRDMAN The theme of the birdman comes from antiquity. In ancient Egypt he appeared as Horus, a God with a man’s body and the head of a falcon; Horus being the Egyptian God of the sky. In this sculpture, Dalí combines two incongruous parts, substituting the head of a human figure with the head of a heron, sculpting a half-human, half-bird-like figure. Curves, drapes and hair emphasize the sculpture’s fluidity and sophistication. For the body of the sculpture, Dalí took inspiration from the statue of Antinous (1543) from the Belvedere Gardens in Rome, now part of the Vatican collections. Antinous was a young Bithynian Greek, a favorite of the Roman Emperor Hadrian. Dalí takes inspiration both from the figures posture, and from the position of the drape on the left arm. In this sculpture, Dalí wishes to illustrate his vision of metamorphosis and his obsession with birds, and their anatomy. Date: conceived in 1972, first cast 1981 Material: bronze Technique: lost wax process Edition size: 350 plus 35 EA Height : 27 cm Edition : patina blue Maquette: original plaster, Birdman, 1972 Direct intervention (created by Dalí): the idea, image, and original maquette. Indirect intervention (created by artisans): lost wax process and patina. EDITION 341/350 DALINIAN DANCER Dalí was fascinated with the art of dance and it was of great significance in his life and work. He was especially attracted to the passion and flamboyance of the flamenco, known for its ability to explore the full range of feelings and emotions. He was an avid admirer of the “flamenco queen” of Spain, “La Chana”, and would often watch her perform, with his pet ocelot in tow. Elements of flamenco can be seen in this sculpture; the ruffles on the dress, its low neckline, and the hair pulled back in a bun. Dalí seems to capture the sense of movement perfectly. The dancer twirls around in a display of vitality and ecstasy, the layers of her skirt flaring out as she moves; the heaviness of the bronze contrasts with the lightness of the vibrant dancer. The faceless figure, a recurring motif in Dalí’s oeuvre, lures us in with her intense rhythm. Undoubtedly it was Dalí’s fascination with ballet that influenced much of his art work. His close links with the stage and theatre, meant he collaborated with designers and dressmakers throughout the 1930’s and beyond, designing costumes, contributing to stage sets and writing librettos, such as Bacchanale (1939), andTristan Fou (1936-1938). Dalí depicted the Sardana dance in various paintings, the most famous being The Sardana of the Witches (1918) which he painted at a very young age. He was influenced by his father’s love of the Sardana, a traditional folk dance of Catalonia where dancers form a circle and follow choreographed steps, holding hands. Date: conceived in 1949, first cast in 1984 Material: bronze Technique: lost wax process Edition size : 350 + 35 EA Height : 40,5 cm Edition : patina blue Maquette: original drawing, Dalinian Dancer, 1949 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina EDITION 194/350 DANCE OF TIME I The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works. Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying. The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist. Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests. Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time. The Dance of Time I is presented alongside Dance of Time II and Dance of Time III. Date: conceived in 1979, first cast in 1984 Material: bronze Technique: lost wax process Edition size : 350 + 35 EA Height : 38,5 cm Edition : patina green Maquette: original gouache, Dance of Time, 1979 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina EDITION 251/350 DANCE OF TIME II The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works. Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying. The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist. Dalí flips reality, taking the familiar image of a watch which is hard, solid and precise and inverts its characteristics. It is now the opposite, becoming soft, inaccurate, time bends to individual meanings. Again in this sculpture, the unexpected softness of the watch contrasts with the hardened sturdy tree trunk upon which the clock rests. Some say that Dalí represents in his watches Albert Einstein’s theory of relativity of space and time; the dancing watch illustrating the concept of movement through time. The Dance of Time II is presented alongside Dance of Time I and Dance of Time III. Date: conceived in 1979, first cast in 1984 Material: bronze Technique: lost wax process Edition size : 350 + 35 EA Height : 30,5 cm Edition : patina green Maquette: original gouache, Dance of Time, 1979 Direct intervention (created by Dalí): the idea, image, and original maquette Indirect intervention (created by artisans): lost wax process and patina EDITION 105/350 DANCE OF TIME III The melting clock is the most recognizable Dalinian image and the artist chose to portray it consistently throughout his lifetime. Dalí became obsessed with the concept of time and used the melted watch image in many of his works. Dalí brings to this sculpture a dynamism, where the clock appears to be literally “dancing”. Unrestrained by the rigid laws of a watch, time, for Dalí, moves to the rhythm of a perpetual dance, speeding up, slowly down, stretching out, liquefying. The clocks illustrate an important theme in Dalí’s art;the contrast between the hard and the soft, a central preoccupation of the artist.
Load more

Recommended publications
  • Salvador Dalí
    Salvador Dalí Contents Introduction to Dalí ....................................................................................................................................... 2 Diminutive Biography ................................................................................................................................... 2 Chronology of Select Works & Contributions ............................................................................................... 2 Theatre ...................................................................................................................................................... 3 Film ............................................................................................................................................................ 3 Painting ..................................................................................................................................................... 3 Writing ...................................................................................................................................................... 5 Photography .............................................................................................................................................. 5 Fashion ...................................................................................................................................................... 6 Architecture .............................................................................................................................................
    [Show full text]
  • Dali Keynote
    Dali’s father, Salvador Dali i Cusi, was a notary. His mother, Felipa Domenech Ferres, was a homemaker. Salvador Domingo Felipe Dali was born in 1904. His older brother with the same name died a year before his birth. At five, Dali’s mother told him that he was a REINCARNATION OF HIS BROTHER. Dali believed this. At five, Dali wanted to be a cook. At six, Dali painted a landscape and wanted to become an artist. At seven, Dali wanted to become Napoleon (they had a portrait of Napoleon in their home). Dali’s boyhood was in Figueres (Fee-yair-ez), Spain, a town near Barcelona. This church is where Dali was baptized and eventually where his funeral was held. Summers were spent in the tiny fishing village of Cadaques (Ka-da-kiz). Dali loved the sea and the image of it shows up frequently in his paintings. Local legends suggested that the howling winds and twisted yellow terrain of the region in Catalonia would eventually make a man mad! With sister Ana Maria Later with his wife With poet friend Lorca Photos from Cadaques Dali attended drawing school. While in Cadaques, he discovered modern painting. His father organized an exhibition of his charcoal drawings in his family home. At 15, Dali had his first public exhibition of his art. When he was 16, Dali’s mother died of cancer. He later said that this was the “greatest blow I had experienced in life. I worshipped her.” Dali was accepted into the San Fernando Academy of Art in Madrid.
    [Show full text]
  • Salvador Dalí, Surrealism, and the Luxury Fashion Industry
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Salvador Dalí, Surrealism, and the Luxury Fashion Industry Chantal Houglan College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Contemporary Art Commons, Modern Languages Commons, and the Theory and Criticism Commons Recommended Citation Houglan, Chantal, "Salvador Dalí, Surrealism, and the Luxury Fashion Industry" (2016). Undergraduate Honors Theses. Paper 902. https://scholarworks.wm.edu/honorstheses/902 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Houglan 2 For both my mother, Nicole Houglan, who introduced me to the Surrealist’s work at a young age and for the Great Dalí, the artist who continues to captivate and spur my imagination, providing me with a creative outlet during my most trying times. Houglan 3 Table of Contents Introduction…................................................................................................................................. 4 Chapter 1. Dalí’s Self-Fashioning into a Surrealist Spectacle.........................................................8 Chapter 2. Dressing the Self and the Female Figure.....................................................................28 Chapter 3. Dalí’s
    [Show full text]
  • Ballets Russes 99 Fernanda Nadal – Ateliê (1909-1929) 59 Elsa Schiaparelli E Escola De Bordado 120 English Version a Arte Da Moda – Histórias Criativas
    FAROL ENDOSSO SP.pdf 1 14/09/2020 15:15:17 MINISTÉRIO DO TURISMO e SANTANDER apresentam FAROL ENDOSSO SP.pdf 1 14/09/2020 15:15:17 22 de janeiro a 4 de abril de 2021 CURADORIA Giselle Padoin PATROCÍNIO APOIO PRODUÇÃO REALIZAÇÃO PATROCÍNIO APOIO MUSEU DE ARTE DE SAO PAULO ASSIS CHATEAUBRIAND P R O D U Ç Ã O R E A L I Z A Ç Ã O nauguramos nossa programação 2021 aqui no Farol Santander São Paulo falando de moda – essa força empreendedora que move nossa economia como um dos pilares da cul- tura criativa no Brasil. IJuntos com a curadora Giselle Padoin, orgulho- samente apresentamos a você, visitante, A arte da moda – histórias criativas. Nossa ideia com a expo- sição é trazer um panorama da influência parisien- se na moda brasileira e a constante busca por uma identidade estética que valorize o tradicional e o contemporâneo dentro de nossa cultura. Convidamos cada um de vocês a desfilar pelos Fernanda Nadal dois andares ocupados pela exposição e conhecer Quadriculado floral, 2020 Luneville, fios e bordado tradicional com pedraria ícones da alta-costura nacional e internacional e Checkered Floral Luneville embroidery, yarns and traditional peças de artesãos e designers brasileiros que foram embroidery with stones criadas com exclusividade para serem exibidas aqui. Coleção | Collection Fernanda Nadal Foto | Photo Fifi Tong Nós do Santander acreditamos na força do em- preendedorismo e da inovação. A moda é a expres- — Integrante da nova geração de tecelões do Muquém faz demonstração do tear no Farol são viva de uma cadeia que produz e se reinventa Santander, em janeiro de 2021 Member of the new generation of weavers from todos os dias.
    [Show full text]
  • 1 Surreal Love by Salvador Dali Reflections on Salvador Dali, Man's
    Profile of time By Prof. Paul S. Cutter Surreal Love by Salvador Dali Reflections on Salvador Dali, man's place in the vast Cosmos, and some current sociopolitical observations et al… St. Stefan, Montenegro - Europe 2008 1 Graphic Preface Dali's clock in London makes an interesting contrast to Big Ben situated on the other side of the Thames. Passage of time 2 Preface For Dali this surrealism was more than an art style or a philosophy; it was a part of his belief-system, his modus operandi. Dali expressed surrealism in everything he said and did through- out his life. He was not just unconventional and dramatic; he was fantastic, shocking, and outrageous! He was an artist who loved to stir up controversy, to instigate scandal and upheaval, all of which worked to his advantage to establish the image of an eccentric and paranoid genius, thereby creating legendary pathos. For Dali it was all part of his adopted role as agent provocateur to the bourgeoisie, his ongoing mission to undercut our safe, complacent view of what is real. Salvador Dali remains one of the great artistic innovators of all time. Like Picasso, Matisse, Miro, and Chagall, his place at the pinnacle of modern art history is assured. Salvador Dali is, without doubt, the most famous surrealist of all time. His painting, The Persistence of Memory (fig.42) almost stands alone as a symbol of the creative movement. The melted clocks represent the strange warping of time which occurs when we enter the dream state, the subconscious state of mind.
    [Show full text]
  • Reinhardt: Dress As Sculptural Form
    Carola Reinhardt: Dress as sculptural form Universidad Politécnica de Valencia Facultad de Bellas Artes de San Carlos Máster Oficial en Producción Artistica Dress as sculptural form. Dress as the sculpture and its material as communicating language. Carola Reinhardt Tutor: Amparo Berenguer Wieden Cotutor: Francisco Pérez Benavent Tipología 4 i Carola Reinhardt: Dress as sculptural form ii Carola Reinhardt: Dress as sculptural form Contents Contents ....................................................................................................................................... iii 1.0 Presentation ......................................................................................................................... 1 1.1. Title of the work: ..................................................................................................................... 1 1.2. Personal data ............................................................................................................................ 1 1.3. Objectives ................................................................................................................................... 1 2.0 Introduction .......................................................................................................................... 3 3.0 Conceptual structure ......................................................................................................... 4 4.0 Dress as the sculptural form ..........................................................................................
    [Show full text]
  • Collectors Journal
    Vol. 27 No. 4 Autumn 2017 THE COLLECTORS JOURNAL © FOR THE DALI AFICIONADO AND SERIOUS COLLECTOR * * * Now In Our 27th Year * * * DNA Test: Dalí’s ‘Daughter’ Unrelated to Him Excerpted from The Guardian, 9/6/2017 by Sam Jones NA evidence from the recently exhumed body of Salvador Dalí has shown he is not DDthe father of a woman who had claimed to be the only child and heir of the eccentric surrealist. Pilar Abel, a 61-year-old tarot card reader and fortune teller from Girona, has spent the past 10 years trying to prove that she is the fruit of a liaison between her mother and Dalí in 1955. In June, a court in Madrid ordered the artist’s body to be exhumed after previous attempts to determine paternity had failed. INSIDE A month later, experts entered the crypt beneath the museum Dalí designed for himself Dali Inspired Lolita? in his home town of Figueres, Catalonia, to take PAGE 2 DNA samples from his hair, nails and bones. Dali Lobster Dress However, on September 6, the Gala-Salvador Dalí PAGE 4 Foundation, which controls the artist’s lucrative A canopy covered the open crypt beneath the estate -- and which had opposed the exhumation -- floor of The Dali Museum in Figueres, Spain Fashion Shoot at said analysis of the remains had shown that he was as experts collected samples of Dalí’s DNA. Dali’s Home not related to Abel. The foundation said a report submitted to the court by the National Institute of PAGE 4 Toxicology and Forensic Sciences had established that Dalí was not her biological father.
    [Show full text]
  • 1920'S Brief Period Timeline
    1920’s Brief Period Timeline • 1920 Passage of the 18th Amendment (prohibition) (lasts 1920-1933) United States ratifies the 19th Amendment, giving women the right to vote 1922 Discovery of King Tut’s tomb by Howard Carter, had laid undisturbed for 3,000 years 1924 Founding of the Surrealist movement when Andre Breton releases his Manifeste du Surrealisme Department of Congress establishes name rayonTawney's for regenerated edited 1920s 5.27.wmv cellulosic fiber that had been called “artificial silk” 1925 B.F. Goodrich registers the trademark “zipper” Publication of The Great Gatsby by F. Scott Fitzgerald 1927 Charles Lindberg makes first flight across the Atlantic Ocean Sound come to motion pictures in The Jazz Singer 1927 Selling most actively: automobiles, radios, rayon, cigarettes, refrigerators, telephones, cosmetics, and electrical devices of all kinds 1929 Stock market crash • • • Modernism in women’s fashion • Clean, simple lines • Androgynous silhouette • Lack of unnecessary adornment • Sought to enhance the life of the wearer via apparent rejection of unnatural restriction • Bias-cut silk-satin sheath gown ; diagonally cut drop-bodice; slim skirt wrapped to form a two- layered hemline, by Callot Souers, 1924. Art Deco: International ovement 1925-1939 Chrysler Building, 1928-1930 Art Nouveau, 1896 Liberty, 1921 Sunbursts typical pattern of Art Deco Art Deco: International Movement 1925-1939 Affecting the decorative arts such as : architecture interior design industrial design visual arts such as fashion, painting, the graphic arts, and film. Popularity peaked in Europe during the Roaring Twenties Continued strongly in the United States through the 1930s Although many design movements have political or philosophical roots or intentions, Art Deco was purely decorative This style was seen as elegant, functional, and modern.
    [Show full text]
  • Caixaforum Barcelona Presents a Dialogue Between Surrealism and Design
    CaixaForum Barcelona presents a dialogue between Surrealism and design • A total of 285 artworks and objects are brought together to create a dialogue in the exhibition Objects of Desire: Surrealism and Design, 1924-2020, which explores the relationship between the two disciplines over the last century. • Jointly organised by ”la Caixa” and the Vitra Design Museum, and featuring pieces from collections and museums from around the world, the exhibition at CaixaForum Barcelona features works by artists such as Salvador Dalí, Man Ray, Lee Miller, Giorgio de Chirico, René Magritte, Joan Miró, Marcel Duchamp and Meret Oppenheim, and designers and architects like Gae Aulenti, Le Corbusier, Antoni Gaudí, Ray Eames and Achille Castiglioni. • The subconscious, dream, eroticism, obsession, chance and the irrational were all elements that the Surrealist artists fused into their works, which were often everyday objects whose forms they altered and subverted. At a point where the discipline was most critical of rationalism, design also appropriated these elements. • The exhibition is a multidisciplinary exploration that invites the visitor to discover formal and conceptual allusions to Surrealism in paintings, sculptures, drawings, objects, posters, magazines, books, photographs, historic films and furniture. _______________________________________________________________ Objects of Desire: Surrealism and Design, 1924-2020. Dates: From 28 February to 7 June 2020. Produced and organised by: ”la Caixa” and Vitra Design Museum. Curated by: Mateo Kries,
    [Show full text]
  • 1 Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour
    Dalí Museum, Saint Petersburg, Florida Integrated Curriculum Tour Form Education Department, 2015 TITLE: “Salvador Dalí: Elementary School Dalínian Science” SUBJECT AREA: (VISUAL ART, LANGUAGE ARTS, SCIENCE, MATHEMATICS, SOCIAL STUDIES) Visual Art, Science (Next Generation Sunshine State Standards listed at the end of this document) GRADE LEVEL(S): Grades: K-5 DURATION: (NUMBER OF SESSIONS, LENGTH OF SESSION) One session (30 to 45 minutes) Resources: (Books, Links, Films and Information) Books: • The Dalí Museum Collection: Oil Paintings, Objects and Works on Paper. • The Dalí Museum: Museum Guide. • The Dalí Museum: Building + Gardens Guide. Links: • Florida Art Education Association: www.faea.org 1 • National Art Education Association: www.arteducators.org • National Core Art Standards: www.nationalartstandards.org • www.thedali.org • http://www.thedali.org/education/resources.php Films: • Dalí Condensed: 5 lecture series, Peter Tush, Curator of Education Dali Museum You Tube Site. • The Dalí Dimension, Decoding the Mind of a Genius, Psychoanalysis, Relativity Theory, DNA & Genetics, Mathematics, Nuclear Physics. Information: Leonardo da Vinci (1452-1519) • Italian polymath, scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician and writer. Leonardo has often been described as the archetype of the Renaissance man. • Painstaking observations and carried out research in fields ranging from architecture and civil engineering to astronomy to anatomy and zoology to geography, geology and paleontology. • Leonardo had a device for waking. • Spring Device, geometric perspective. • c. 1478: Studies of Self-Propelled cart, Codex Atlanticus. • 1480: Parachute. • 1480: Archimedes screws and pumps to draw up water. • 1485: Drawing of a flying machine. • 1485: Scythed Assault Chariot. • 1487: Canon Foundry. • 1490: Study of Horses.
    [Show full text]
  • Chelsea Pearsall 5
    Chelsea Pearsall 5-16-17 Zeitgeist The Zeitgeist is by definition the spirit of a time period where politics, the set of ideals and beliefs, influence members of a society. Furthermore, to study a time period or movement in the past it is crucial to understand and be knowledgeable of the zeitgeist. The Surrealism art movement was a movement that was completely motivated by the times, as its purpose was to critique modernity, liberate the minds of complacency, and deal with the effect of the first world war. Examining the previous art movement that lead to Surrealism, and experiencing the work of the Surrealist painters, photographers, film makers, sculptors and fashion designers through the lens of the 1920s, to further enrich our understanding of the art movement that occurred between the two world wars. To understand what lead to the Surrealism movement, one must understand the world affairs leading up to this time. The birth of Surrealism came from the ideas of the Dada group, an art and literary movement that started in Switzerland. The Dada movement started during World War I, a devastating war that is known to have killed the lives of eight million military personnel and eight million civilians. The Dada movement began as an artistic protest against the bourgeois and nationalist interests, which many of the Dada artists had believed were the cause of the war (Dada Movement Overview and Analysis). The Dada group was also formally against the cultural and intellectual conformity in the arts and also in society, that resulted after the war. The art that Dadaist started to create was directly in response to the politics, mocking and critiquing modernity, by drawing references from newspapers, films, propaganda and technologies, which were a large part of present day life (Dada Movement Overview and Analysis).
    [Show full text]
  • Final Amended Mphil Thesis.Pdf
    Unearthing the Self: Performative and Theological Explorations Towards a Discovered Identity Christopher Mark Howitt Thesis submitted in partial fulfilment of the requirements for MPhil in Theatre and Theology at De Montfort University October 2019 Abstract How does one begin to understand the self? Approaching identity as a fragmented and complex form, this thesis argues that true self-knowledge is a thing to be discovered rather than created. As a route in, it offers three separate starting points: faith, the mind and the other. In the first instance, the journey begins with the divine. Approaching theology in light of contemporary theatre practice, God is presented as the origin of creation. From there structural and poststructural linguistic theory is applied to areas of the Bible that tackle identity. Shifting from the celestial realm, Chapter Two pays attention to the unconscious. Postulating that dreams may hold the key to our definitive self, practitioner-theorists Hélène Cixous, Susan Gannon and Richard Russo present the starting point for self-discovery as belonging in the mind. The final chapter offers as its starting point, our place in the collective. Examining the internal/external binary, it postulates that a greater understanding of who we are is gained by understanding our role in contemporary society. After examining audience participation in relation to (self) sacrifice, the Church’s contemporary view towards gender theory is presented, exploring the freedom (and incarceration) of choice. The thesis closes by offering three starting points for the journey of self discovery: the divine, the mind and by examining our relationship with the other. It concludes that true identity should not merely be seen as a final destination, but rather something that is formed along the journey of discovery itself.
    [Show full text]